Nushrat Bharucha Quotes

The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

I own all the characters I created, thanks to the Writers Guild, so nobody can do anything without me. The way it works is: If the copyright owners instigate a project, like the movie, then I get a fee as creator. If I instigate a project, like the musical, I pay a percentage to the copyright owners.

You'd be naive if you think you are going to retain any control once you option a character to TV.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

If you have sold the film rights to somebody, take your money and leave. If the producers need you, they will call you. But you have to be careful about who you are selling your book to, and ensure that it is not tampered with.

The only control you have over a movie is whether or not you decide to sell the rights.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

Authors need to decide if they want to keep forever to themselves, or share forever with a publisher who takes over half the cover price.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

I think that one of the most useful applications of the Creator's Bill of Rights is that it clearly indicates for creators what rights they have at the outset.

And Warner Bros. seems to be pretty much into re-releasing all of their catalog. So there's the Warner Bros. stuff and the stuff that we have control over, we're gradually re-releasing it. Some stuff we don't have control over.

I thought I had the rights to The Lord of the Rings. I don't know how Jackson ended up with the rights.

Selling one's book to Hollywood is rather like selling someone your house. After it's sold, it isn't yours anymore. They can paint it a different color, tear it down and build something new, or do anything they want.

A band that makes records and tours is also a business. That's usually where a lot of disagreements come. It's four guys who are musicians and don't really know much about business, but are very passionate and have very specific ideas.

We have to show support for artists who are trying to own things for themselves.

No one pretty much tells me what kind of horror films to make.

Our first manager really pushed that we not sell our publishing rights, which is one of the earliest things an artist will do: They'll sell in order to get a cash advance.

Soderbergh is a very respectable director that manages to have an incredible amount of freedom in a system that doesn't allow anybody to be free as he is on a set. And he will jump from 'Solaris' to 'Ocean's Twelve' and 'Thirteen.'

Perhaps not unusually for a popular film produced over three decades ago, there have been a dizzying parade of corporate characters trading rights to 'This Is Spinal Tap' through the years. Yet our requests for timely statements of the film's income have been met with a series of slammed doors.

I don't want people to just hand me music and be like, 'Here, you sound good on this. Sing it.' I want to be able to say, 'This is me.'

With some of the samples that I chose to use, tracking down the person that owns the publishing has become a task.

Honestly, I never felt like I wasn't an artist on my own. I always felt like the music I made was mine, whether it was part of a collaboration with people.

Publishing is a business. It's about squeezing every last dollar out of every available source, and the most vulnerable source is the author. No clearer proof of that exists than the 'standard' book contract.

If at some point Fox decides that the X-Men properties are no longer lucrative I'm sure that they will cut a deal with Disney.